Utwory na płycie:

• Prelude And Fugue For Organ In D Major, BWV 532 - Praludium. Moderato
• Prelude And Fugue For Organ In D Major, BWV 532 - Fuga. Allegro Moderato
• Piano Sonata No. 31 in A-flat major, Op. 110 - Moderato cantabile, molto e
• Piano Sonata No. 31 in A-flat major, Op. 110 - Allegro molto
• Piano Sonata No. 31 in A-flat major, Op. 110 - Adagio, ma non troppo - Ari
• Piano Sonata No. 2 in G-sharp minor, Op. 19 'Sonata-Fantasy' - Andante
• Piano Sonata No. 2 in G-sharp minor, Op. 19 'Sonata-Fantasy' - Presto
• Piano Sonata No. 2 in B-flat minor, Op. 36 (2nd version, 1931) - Allegro a
• Piano Sonata No. 2 in B-flat minor, Op. 36 (2nd version, 1931) - Non alleg
• Piano Sonata No. 2 in B-flat minor, Op. 36 (2nd version, 1931) - L'istesso
• Waltz No. 7 in C-sharp minor, Op. 64/2
• Waltz No. 6 in D-flat major, Op. 64/1 'Minute Waltz'
• Etude de Virtuosite? in F major, Op. 72/6
• Song Without Words in C major, Op. 67/4 'Spinning Song'

Johann Sebastian Bach/Ferruccio Busoni/S.Fiorentino:
Prelude and Fugue, BWV 532

Ludwig van Beethoven:
Piano Sonata No. 31, Op. 110

Alexander Scriabin:
Piano Sonata No. 2, Op. 19 “Sonata-Fantasy”

Sergei Rachmaninoff:
Piano Sonata No. 2, Op. 36 (2nd v. 1931)

Frédéric Chopin:
Waltz No. 7, Op. 64/2
Waltz No. 6, Op. 64/1 “Minute Waltz”

Moritz Moszkowski:
Etude de Virtuosité, Op. 72/6

Felix Mendelssohn:
“Spinning Song” Op. 67/4

The Italian pianists who have made the history of interpretation are well known, starting from Busoni through Zecchi, Benedetti Michelangeli, up to Pollini and others…

But there are many other very great Italian pianists, who due to a series of more or less clear circumstances, slipped away unnoticed, without the deserved recognition. In particular, Sergio Fiorentino stands out above all of them, an incomparable pianist and musician, who had a discontinuous career and that only post-mortem began to be universally ranked as one of the greatest pianist of the 20th Century.

He was, above all, a soulful musician, who always avoided virtuosity for its own sake, and could thus return profound interpretations of Bach, Schubert, Franck or of the last Beethoven’s sonatas. He was a balanced pianist, faithful to the score, but, at the same time, still tied to certain freedom of expression, typical of the pianists of the late 19th century but always with great taste, elegance, musicality and respect of the musical style.

Fiorentino, for his perfect technique, clear sonority, vast musical culture and broad repertoire (from Bach to Stravinsky, including also the main compositions for orchestra and chamber music) represents in many aspects the archetype of the “perfect pianist”.

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Recording: Novel Hall, Taipei, 29 May 1998 (live); Piano: Steinway & Sons.